Excuse the Intermission
Alex and Max take you on a journey through film with this discussion podcast about movies.
Excuse the Intermission
'Twisters' Breakdown + Legacy Sequels
What if a summer blockbuster could transport you back to the 90s while feeling totally fresh and modern? Get ready for our lively discussion on "Twisters," the anticipated sequel that blends nostalgic action with contemporary twists. We'll break down standout scenes, including a clever fourth-wall break, and explore how today's influencer culture weaves seamlessly into the storm-chasing narrative. Plus, we can't help but chuckle at the idea of Glenn Powell running for president!
As we dissect "Twisters," you'll hear our thoughts on Daisy Edgar-Jones' and Glenn Powell's electrifying performances and the film's refreshing character dynamics. Expect honest takes on pacing, the emotional depth of disaster relief efforts, and the heart-pounding original soundtrack that has us pushing for some well-deserved Oscar recognition. Join us in celebrating director Lee Isaac Chung's transition from indie films to blockbuster territory and how his Midwest roots bring an authentic touch to the story.
But the fun doesn't stop there! We're thrilled to announce our upcoming "Garbage Night" event in Tacoma, Washington, where we'll screen the original "The Crow" on August 22nd. Picture a night filled with movie-watching, trivia, and interactive commentary—perfect for fans of awesomely bad movies. Mark your calendars and get ready for an unforgettable evening that celebrates both the charm of legacy sequels and the delightful quirks of cult classics.
how's it? I'm alex mccauley and I'm max fosberg and this is excuse the intermission a discussion show surrounding not chasing your fears, but riding them twisters is the number one movie at the box office and giving summer blockbuster fans plenty of reasons to return to the movie theaters. We will have a conversation about the film how to make an effective legacy sequel and share some exciting news with you all on the other side of this break.
Speaker 2:This episode is brought to you by the Seattle Film Society. The Seattle Film Society is a filmmaker-run project dedicated to organizing, cultivating and celebrating the region's filmmaking community Through screenings, educational opportunities and community initiatives. Seattle Film Society strives to be a centralizing force for Seattle-area filmmakers.
Speaker 1:Their monthly screening event, Locals Only, is held at 18th and Union in Seattle's Central District and spotlights local voices in independent filmmaking. Tickets start at $10 and are available at seattlefilmsocietycom.
Speaker 2:To keep up with the Seattle Film Society, be sure to check them out on Instagram or Letterboxd at seattlefilmsociety or on their website, seattlefilmsocietycom.
Speaker 1:Come be a part of the next generation of Seattle filmmaking. Today, all right Max. It's the morning of July 23rd. We are back in the thick of blockbuster season, inching closer to the dog days of summer that will, thankfully, be cinematically robust this year. It's a beautiful day. Here in the Pacific Northwest, the Summer Olympics are about to commence. Who knows who's leading our country at the moment? Or maybe we do know.
Speaker 3:Maybe it's glenn powell, I don't know how you put him in office, right, I listen, I. He is the kind of like, stereotypical, like actor that would probably run for president. President, if he ever, like, became uninterested, like a george clooney type or something george clooney, Ronald Reagan, you know he's got that pizzazz.
Speaker 1:I would love to see a Glenn Powell Ides of March movie, like 20 years from now. That'd be amazing. I can't wait till he gets into his. We can talk about this maybe later on in the episode.
Speaker 2:This is not a.
Speaker 1:Glenn Powell pod. So maybe now is the right time, but like I cannot wait for like 55 year old Glenn Powell to just be like still smoking hot Robert Redford, just like crushing these these older, rich man roles.
Speaker 3:We just got to keep them out of a cape and a cow. He won't do that to us, so I don't know if you've seen the rumors. There's already rumors swirling Sure. I'm sure there are. He might be the new Batman.
Speaker 1:Now get out of here, I know Right.
Speaker 3:Please don't do it, Glenn.
Speaker 1:Please. There's already one future superhero in Twisters.
Speaker 3:So crazy right.
Speaker 1:So we don't need to look back on Twisters 15 years from now and be like, wow, it was a breeding ground.
Speaker 3:That guy did not give off the first superhero, vibes.
Speaker 1:It's so funny though I just. I mean, I rewatch pearl all the time like a psychopath, but like in pearl he is so much more strapping we're talking about david corn sweat. He is so much more strapping and good looking and like bulky and big. Yeah, in pearl, whereas in this one they kind of hide him under the collared shirt, totally the hat and the glasses he still gave off. He was giving off more Clark Kent vibes than Superman vibes.
Speaker 3:But he was also just such a dick, I think. At one point in this movie I audibly said out loud like that guy sucks Good. I think that's the reaction you're supposed to have, for sure, Totally.
Speaker 1:That's pretty funny, Okay. So before we dive all the way into our Twisters discussion, we do want to share some share some exciting news with you off the top here. As some of you may know, earlier in July, excuse, the intermission was invited to record a live show at Epson square in Tacoma, Washington. The event turned out great. We ended up with like 50 audience Mount Rushmore slips from folks who were in attendance and submitted their four favorite films to be a part of our discussion on that day. We love seeing that kind of interaction. The team down at Edison Square loved it.
Speaker 1:For those of you real quick too who maybe don't know, Edison Square was once home to Tacoma's first movie theater. So in honoring that spirit, we have been chatting since that live event with the venue on how to bring back movies to Edison Square. We are happy to announce right now that in the month of August, Edison Square and excuse, the intermission will be hosting a free movie night that we are affectionately calling Garbage Night. Max has my accomplice on past episodes such as Garbage Crime, Space, Garbage, Dumpy Worry, Disaster Movies and many more celebrations of awesomely bad movies. Tell the people what we have in store for Garbage Night.
Speaker 3:Well, yeah, I mean, as you just listed, we love things that stink uh, and so, uh, we're gonna get together and and we're inviting everyone uh to come on down and join us as we uh put a movie up on the big screen, and that movie is the original the crow uh the brandon lee dark superhero like vengeful revenge uh action movie yeah, very punk rock very punk rock and we're excited.
Speaker 3:We're kind of doing this in uh tandem with the release of the remake of the crow starring bill skarsgård, but we're going to be watching the movie and throughout the movie we'll we'll be pausing and making comments and probably making fun, but also, like trivia and little tidbits here and there, maybe pull some audience members up to give their uh opinion on on what we are watching on screen. It should be really fun. Um, I'm I'm very excited to to continue the the dumpster diving that we love to do on this show.
Speaker 1:And I think the Crow is a perfect movie for it as well, because the Crow is a good movie. It is awesomely bad, it's a cult classic.
Speaker 1:It's a cult classic it is. It's weird in all the right ways, yeah, and so I think it will foster a ton of like scene analysis things that we can actually like kind of break down and talk about on a technical level. But then also, too, it's like we can talk about how brandon lee's character here is like a mirror image of the wwf wrestler sting, and that's just gonna be a lot of fun. So, yeah, the live commentary tracks we've done that before over on our patreon feed, where we've done like a live commentary for the witch. This will be a lot different but like so we're a little bit familiar with kind of how to structure an episode like this. But being out there again with the people watching a movie can't wait for it. August 22nd, write it down, and, yes, it is the day before the new crow film comes out so you can do a little double feature with it.
Speaker 3:It's going to be in the evening, right? Our first show was during the lunch hour. This is going to be at night, probably later in the evening, uh, so hopefully you'll be off work and you can come down. And please come down, join and support, because I I mean, listen, I've been making, I've been making lists of of garbage movies that just come to my head and like if this can be a a regular thing. We have a long library to go through this is so true.
Speaker 1:And another really cool aspect of this event is that we not only are partnering with edison to help present the film, but we will also be supporting our favorite local independent theater, the Grand Cinema. The folks down at Edison Square, in the restaurant in which they are attached to we're going to do a pro-seed event for all sales that night. The movie event will be free, but as far as the drinks go at the bar, the food, everything like that, there will be a percentage that goes directly to the Grand Cinema and their Save the Grand campaign, their fundraiser. So that is really exciting because we are I say we as partners of the Grand.
Speaker 1:I feel like it's our duty to continue to help spread this message of Save the Grand. In their capital campaign, $5 million is the target. I know they've just hit the $4 million threshold and they still have about a year's worth to collect that, so that's really cool.
Speaker 3:It seems like all signs are pointing towards the grand being able to buy the building and continue to have that be like a central hub for film education so amazing and it's so important, and so don't even think of this event of like oh, it's important to go out and support Alex and Max. It's important to come out and support the film scene and the independent film scene here in Tacoma.
Speaker 1:The overall small business scene too. If you're eating at Radner's, if you're doing things down there in South Tacoma way, it's good for the community and Edison square does a lot of amazing events.
Speaker 3:Uh, not only do they do live pods, but they, you know, they've got like ping pong, like tournaments.
Speaker 1:And there was just a chess. Thing.
Speaker 3:I know you weren max challenge the chess champ this friday, alex and I are going down there for a. Uh, it's like a interactive trivia night it's like the gong show yeah, so if you're free this friday, come on down and hang out with us. But um edison city or edison square, uh is uh really doing some really really cool things and they have amazing smash burgers there, so come on down and eat that's gonna be awesome, be awesome, cannot wait for that.
Speaker 1:Once again, august 22nd and I'm sure the start time will be 7 PM. Yeah, so just kind of pencil that in, yeah.
Speaker 3:Uh, and the live episode that we did do there, uh, on July, was that 11th July 11th is live on our Patreon right now. You can go over. It's $3 a month and you can get access to that episode, absolutely.
Speaker 1:You know, what I'm thinking about starting to put up on there is because they're hitting my memories right now, so like my camera roll is reminding me every single day right now about our road trip from last year, and so it'd be really fun. I've put a couple little teaser videos out on my Instagram stories recently, things that we didn't share in the moment, and so that would be a really fun way to kind of start leaking some of that footage too.
Speaker 3:Yeah, and I think you know we have a lot of audio from that road trip as well that maybe we start putting up on the Patreon as well.
Speaker 1:Absolutely, Okay, let's talk tornadoes. Twisters is the much-anticipated follow-up to the 1996 film Twister and the first film that director Lee Isaac Chung has released since his best picture, Nominee Minari, which came out nearly four years ago. At the time of this recording, Twisters has made $81.2 million domestically, has made $81.2 million domestically, $43.5 million in international markets for a whopping $124.7 million worldwide in basically just the film's opening weekend. The movie, of course, stars Glenn Powell and Daisy Edgar Jones as our star-crossed storm chasers and is about as propulsive of an action movie that we have seen on this scale, Shy of maybe a few recent Tom Cruise endeavors. Max, this was perhaps our mutually agreed upon most anticipated film of 2024. We've been cheering during trailers, quoting characters, for months now. So what was your immediate reaction leaving the theater? Because we saw this separately and haven't really had a chance to discuss it yet.
Speaker 3:Yeah, it's uh, uh, it hit all the right beats. It really like. It really is so incredibly impressive that they were able to capture the tone perfectly from what a 90s action movie was right, like if if you're going to the drawing board and the original Twister, which is a cult classic and again not a movie that like changed movie history or anything.
Speaker 1:But was like equally part, equal parts cult. There was a cult like fascination surrounding it and it also made like half a billion dollars, so it's such a weird movie.
Speaker 3:Yeah, it is a weird and granted, it was a different time in the 90s, right, like movies actually mattered a lot more.
Speaker 3:But for Lee Isaac, I was so impressed with Lee Isaac Chun, I mean, coming off Minari, which is a very small contained indie family drama, and I know he has made other movies leading up to but like this, this guy has really operated in that indie space and so for him to take on this project and then to just give it such it's done, with such professionalism, like it could have gone, you know, the geo storm way, or like day after tomorrow, or just like into those really crappy, like disaster movie style, but it, it, it marriage, the marriage between that that thrill, uh, and it's and spectacle, and then also like just really good filmmaking and storytelling and and acting, honestly, the actors really bring it throughout this whole movie.
Speaker 3:I will say, if I'm going to nitpick anything, it's like 15 minutes too long or 20 minutes too long. Maybe you could shave a little bit off, but at the same time it is such a thrill ride to sit in a theater, a huge theater, that my theater was packed. You know I had to sit down in the in that front section.
Speaker 3:Um so the the tornadoes on top of me, yeah yeah and uh, man, I was just, I was so I was so thrilled through the whole thing. It was such an amazing experience and to see it succeed so much at the box office is really, really exciting, because, yes, it's IP, but really it's like it really is kind of a standalone movie.
Speaker 1:Oh yeah, you don't need to know. You do not need to watch the first twister film, in fact, to have a good time with this one we were kind of talking about this a little bit.
Speaker 3:You know, there's a question is it a legacy sequel at all, or is it just a another movie about tornadoes, right?
Speaker 1:I love what you said there about how it could have taken a certain route and turned into one of these awesomely bad disaster movies that we do really enjoy, of course, and I think that part of the excitement and the build-up to this movie was the tease that maybe that's what we were going to get like in the trailers, when you have a guy screaming in the passenger seat about how the Twisters have broken into twins.
Speaker 2:We're not twins.
Speaker 1:And you see a tornado. That is also a whirlwind of fire.
Speaker 2:It's like you know what.
Speaker 1:Maybe this is going to turn into the day after tomorrow, and I'm kind of okay with that. But there's a little bit of trepidation, though, too, because I'm like I also want people to love this movie and to not really make fun of it too much, and I think that's what we got. We got something that actually was done with a lot of sentimentality and a lot of care, and it makes sense when you start to look at Lee Isaac Chung's life not just his filmmaking career, but his life. I mean, this is a guy who was born in Denver, colorado shout out, birthplace of yours truly as well and then grew up in Arkansas, and so you start to then look at a story like Minari that is set in the Ozarks. You look at this film that's set in Oklahoma and you understand that there is a lot of of passion and personal investment and love that went into this story. I'm sure that that lead new people growing up whose homes were destroyed in, their lives were altered forever because of a tornado, and so not only do I think the film should be celebrated, because it's not just an opportunity for a director to go get the bag, but it's also an opportunity for a director to get the bag while still telling something that really matters to him.
Speaker 1:This isn't like Marvel plucking one of these up and coming directors and saying, hey, here, come, make the next Thor film, because it's going to set up your career. This is simultaneously going to set up the rest of Lee Isaac Chung's career and allow him to make whatever the hell he wants for the next like five to 10 years probably. And you're right, this guy's been making feature films since 2007. Yeah, they, he just hasn't had the exposure until minari, and so right then and there, like I can stop the conversation and just be like twisters is a success, huge success, and because of what it's gonna do for everybody going forward like it, this is bigger than anything daisy agar jones has ever done.
Speaker 1:This is the first time that Huge success and because of what it's going to do for everybody going forward Like this is bigger than anything Daisy Edgar Jones has ever done. This is the first time that Glenn Powell as much of an A-list superstar that Glenn Powell already is, this is the first time that it's like his action movie. Right, he's not playing second fiddle to Tom Cruise. It's not a rom-com, it's a Glenn Powell action movie. It's a Glenn Powell star-driven vehicle, and so just like sign me up. This is what the movies are all about, especially in the middle of July.
Speaker 3:Yeah, that's brilliantly said and I would love to see. I'm so excited to see what happens with Lee Isaac Chun now going forward, because again, there are strands of big, amazing blockbuster movie making throughout this film and again I'm just so impressed with how he was able to do that.
Speaker 1:Right, that's another thing. It's Spielberg-ish. It was a challenge, you know that it was able to do that Right.
Speaker 2:That's another thing. It's Spielberg-ish, it was a challenge.
Speaker 1:You know that it was a challenge, absolutely and again, something that should be praised as a success now, because I think that he took the jump, the leap, that he took the chance on going from family drama to huge blockbuster action film and pulled it off.
Speaker 1:And that always doesn't go well, no action film and pulled it off, and that always doesn't go well no, no, no, no.
Speaker 1:Especially when you're doing it with IMAX cameras and you're filming it for the biggest possible screen with audiences that you know are going to be paying attention to every little frame.
Speaker 1:And I thought that again, something that like, on a different level, is done really well in Minari, where, like, there's always wind or there's always like you can always hear a sprinkler system in the background of minari or insects or something going on. The sound design of that movie really subtle but understated and really well done. Same thing with this movie, but just on a bigger scale there's always wind, there's always like, whether it's that really soothing, like cicada sound or just other bugs or car engines, just like there's always something going on in this movie that I thought worked really well and just like helped create kind of that. And I'm going to get to this at the very end, because this to me, was like really exciting in a throwback sense, to like 360 degree filmmaking, where everything that was happening in the movie was you could tell it was like made for the movie, like Glenn Powell's car doesn't exist outside of the movie, like that was a unique thing the Dodge Ram.
Speaker 1:Yeah With the corkscrew Dodge owes, like tornadoes, all the money in the world because tornadoes are keeping dodge in business it's so funny re-watching the original one and thinking about how, like, if you saw bill paxton's car on the road today from that film he'd be like that's, you know, just kind of like another turn of the century pickup truck, yeah, but at the time, like it's bright red in that movie and it's meant to look so impressive, and when they pop the canopy off the back and they put dorothy in it, you're like this car could drive through a tornado, I believe it. Um, and so I thought I thought that that was awesome too, because you bring back yes, you bring back a lot of those. That's almost another way that it becomes a legacy sequel, right, but without really tying in characters, and again, I think that that's something that is really well done about the film. Is that it's? It would have been so easy.
Speaker 1:I put this in my letterbox review. There are so many different ways in which this movie could have hit all the tropes of like a legacy sequel or just kind of given audiences what they quote unquote wanted and it decided not to like. It would have been so easy to say that either glenn powell or daisy edgar jones is the daughter or somebody that aunt, or I mean the niece of, like helen hunt or bill paxton, and done it that way and they just decided not to.
Speaker 3:I love that I totally thought helen hunt was gonna show up for a cup of coffee or something, or come in and be like you don't know what you're doing, like these, these are monsters and and like, but yeah, the the fact that they say, no, we're not going to do that, but it's in the same universe, it's in oklahoma. Um, you know, we've got the same trucks, it's the same font. Uh, for the fucking the title but.
Speaker 1:But it is wholly original and on its own um, and also, too, we're not even really gonna follow the same patterns of having there be like yes, there's a romantic attraction between glenn powell and daisy edgar jones, but the crux of the your emotional investment with the first twister film is, like you're rooting for these storms to bring bill Paxton and Helen hunt back together, and this one it's kind of secondary, like you want to see Glenn and Daisy quote unquote like together, but they are together, like they're fighting these storms together. They've just met, you know, and so like again, I think that they've just met, you know, and so like again, I think that this movie does a really good job of like I think people have been upset that there's not like they don't go back to daisy edgar edgar jones childhood home and take her ex-boyfriend, her deceased boyfriend's picture and turn it around and bang on her bed or whatever like, or at least kiss.
Speaker 3:At the end there's no kissing at all, and I love it.
Speaker 1:I just love it. That's not the mission of this movie, and just because people have been told that that's what should happen at the end of this movie, that's why they're upset that it didn't. And so I just love that. I love that. It subverts that trope. It subverts the legacy. Legacy character coming back, like you mentioned, there's people who are playing the same roles, like there's definitely kind of like the Philip Seymour Hoffman kind of guy. There's like the big, bad corporate business that is jeopardizing the integrity of what these storm chasers are doing. Like there's different things.
Speaker 1:Like that there's a really exciting set piece in the middle of the film that kind of mirrors the drive-in set piece from the beginning. So you get all of that but you get it in this way that just feels, yes, like a standalone film and really I think separates it once you start looking into the details from that original. So I love that about it.
Speaker 3:Well, also, what's amazing about this film is that you know it's a monster film, right? The tornado is a monster and like they, even like. One of my favorite sequences in the film is when they get shelter take shelter in a movie theater. And Frankenstein the 1930s Frankenstein is on the screen.
Speaker 1:Yeah, that's not a coincidence.
Speaker 3:No, 1930s. Frankenstein is on the screen. Yeah, that's not a coincidence, no.
Speaker 2:And then, like this, tornado comes in and literally just rips out, like the wall the wall that's the screen.
Speaker 3:And so then they are in a movie theater looking at what would be a screen. That is their tornado, and we are in a movie theater watching this it's just like it's a crazy layered fourth wall break. That is just chef's kiss.
Speaker 1:Yeah, it's really good, okay, so. So those are their overall kind of thoughts. We've mentioned that the film takes place in oklahoma and that it's set in modern times, you know. I mean the original one was set in 1996 and had all the technologies, not only behind the camera, as far as the movie making goes, and that was like it wasn't revolutionary, because we had already seen Jurassic Park and a few other blockbusters Terminator, you know but like the motion capture and the presentation of a tornado on screen, we hadn't really seen that done that well.
Speaker 1:Yet this movie takes place in 2024, could be tomorrow, it could be yesterday. And so I'm curious, like the Oklahoma part of it we already kind of touched on, like very personal to Lee Isaac Chung. We thought it was shot with a lot of care, a lot of delicacy. Like there are small moments, like it's again kind of corny when Daisy Edgar Jones picks up a dandelion and throws it to the wind, but like in the original you had Bill Paxton scooping up dirt and letting it fall, and so it hits those beats, while being a modern film with all these little nods to influencer culture and everything else. And so how do you think that?
Speaker 3:landed. I loved that they made the kind of the Bill Paxton crew, which is Glenn Powell's crew, the Rough Riders or whatever. The Wranglers, the Tornado Wranglers I love that they were YouTubers.
Speaker 1:Yeah, did you subscribe yet to the?
Speaker 3:channel.
Speaker 1:That is like just brilliant because it's another thing that makes sense. If you don't do that and you just like make them be other storm chasers, there would be some whiny people on the internet that are like they would have their phones out and they would be trying to capture it and they would so just make them be that and then also to subvert our expectations and by the end of the film, they're the good guys, yeah totally yeah, because they yeah at first.
Speaker 3:They come off and they do, and they do a great job of coming off as like brash and arrogant like cocky youtube influencers and like that is a negative connotation oh yeah, you dislike them when you write them totally, and and glenn and that's again the power of glenn powell too right, like he, he plays that so well at first and you're just like man, this guy is so smug douche.
Speaker 3:Yeah, he's got. He's got a picture of himself on his t-shirt right and like, and so I thought that was brilliant. That was a brilliant way also to differentiate them from the scientists, even though like and science is cool and like. You want there to be science in this film, which there is right, because I know the original Twister meant so much to like meteorologists all across the world, right, so much so that when, like bill paxton passed away, meteorologists like created with their like beacons. They created a bp in the middle of america and you could see that from like a satellite image or something like that that wasn't in memory of the oil spill.
Speaker 1:That was Bill Paxton.
Speaker 3:Bill Paxton, yes, but yeah so I thought that was that was a really, really great choice to make them YouTubers and and again, like kind of like that Logan Paul, like Jake Paul you know, stunt YouTuber too right like yeah, you're not just like streaming from a computer desk.
Speaker 1:You're like going out on adventures right yeah yeah
Speaker 1:so, yeah, I really like fireworks into tornadoes. What'd you think of that? I I thought it was great because I it was a really good bait and switch and, and the more I think about it, it's right there in front of you when you think back again to the original where, like the ragtag group of fun tornado chasers who you first meet and who are clearly the ones that you're going to spend the most time with and root for, like Philip Seymour Hoffman and he's wearing this crazy outfit and everybody else is just kind of like they're just wearing the clothes on their back. You know they're not sponsored by anybody. They are out there for the science and they keep the jargon somewhat understandable, even though, like, if the certain, like certain definitions the suck zone.
Speaker 1:Yeah, right, and, but like the definitions of what the suck zone is, I, is that just the?
Speaker 1:eye of the storm, like I don't really know, but I can comprehend what the suck zone means, and so I like that because there were certain parallels there.
Speaker 1:But then also, too, you think about the way that Anthony Ramos, who really is like the third lead of this film and I thought did a pretty good job. The way that he and David Cornswet and the rest of their team are dressed, they are like they carry Elwes character from the beginning, where they're buttoned up and they have the sponsors and they have the money and just because Daisy Edgar Jones is with them to begin with, we're led to believe that, like this is her friend from college, she's, she's with the right people right now. And, yes, based off just some, some trailer interaction and stuff like that, you, you understand that there's going to be this like star-crossed romeo and juliet meeting of these two characters at some point and they're going to develop an attraction for each other. But I did not expect there to be the complete like switch of teams, like there's a trade that happens in the middle of this movie where daisy edgar jones is sent over to the to the wranglers and, and she leaves the suits behind.
Speaker 1:And I love that because, like, that's what needed to happen. And yes, it all happens very fast and furious. This movie takes place over the course of a week, I believe, but that's. Another fun thing about the original is that the original is like a sneaky all-in-one day, 24-hour movie. When I re rewatched it I was like, wow, this is kind of crazy how especially when you think about the Jamie Girtz character she just goes on this and she leaves that movie right halfway through.
Speaker 1:So she goes on this like 16-hour adventure with her fiancé and realizes that she this is not the man that she needs to marry, that she wants to marry the extreme. The extreme is that she this is not the man that she needs to marry that.
Speaker 1:she wants to marry the extreme, the extreme, and so that part I thought was worked really well too, because you kind of you, you again follow up on something and worked really well in the beginning where, like these storms that we're chasing out in nature are violent and they're unpredictable, and so these, these, the human characters in these movies, they're unpredictable, unpredictable and they're brash and they make decisions on the fly. They have to, and so I love that. She kind of has this, and I don't know. I'm curious as to see when you think or where you think that we could shave off a little bit of time here, because when Daisy does go back to the Kate character, when she does go back to her childhood home and Morna Tierney comes into the film and it's great to see her, uh, as kate's mom, the movie slows down a little bit.
Speaker 3:but then that's really where I think that like character development worked well, like daisy, edgar jones and glenn powell, and now you know people movie stars having great chemistry with each other great chemistry in a barn and that is where a lot of the jargon comes up and it's just like I have no idea what they're talking about, but it's working.
Speaker 1:Yeah, and I and I have, like it came across my Instagram feed, like meteorologist again, like they know that it's almost like expected of them to weigh in on whether or not this phone was effective or not, and they were saying, like this all makes sense. Now I don't think that shipka's diaper particles and and dissolve a tornado from within. God, just shout out to kieran shipka too, like just crushing it two for two. Here she has a cup of coffee and long legs, a cup of coffee and twisters and she's out.
Speaker 3:I just and she's dating john mayer is she? Wow, came out this week that's a little wild.
Speaker 1:John mayer, kieran shipka, is like 10 years younger than us 24.
Speaker 1:Yeah, wow, um, okay, that's neither here nor there, that's not john mayer's kind of weird yeah it's not for us to weigh in on um and so, and so I love, I love that part, and so I don't know where. As you know, we're kind of talking about the when and where right now and getting ready to dive into the character so like are. Is there a certain character who you thought we spent too much time with? Like? Like, where would you shave off some, some of the runtime? Because I was.
Speaker 1:I was thinking about this not only in the sense of like nineties blockbusters, but in the sense of the original one and then other like Steven Spielberg movies, even like, thinking about like Jurassic Park's two hours and seven minutes long. That's very true. Jurassic Park, for the first is great as that movie is. I'm never gonna sit here and say that like you should change something about jurassic park, but like that movie starts with 40 minutes of exposition, yeah, and you could cut that down a little bit. And so I think it's just kind of a trapping of these movies where they get in their own way a little bit before you get to the action yeah, you know I.
Speaker 3:I mean, I just always want to see like a 98 minute tight action movie, right, and maybe you shave a little bit off the beginning, you know. But also that's good establishing stuff and we have to go through the inciting trauma that Daisy Edgar Jones goes through. Maybe there's a little bit.
Speaker 1:Maybe don't send her all the way to New York. Yeah, maybe there's some stuff bit. Maybe you don't send her all the way to new york. Yeah, maybe there's some ramos, you know he's got. Yeah, there's some stuff in there you could take off, maybe she could have just turned into like a hermit and been at her mom's house the whole time right that that, yeah, that could have been good.
Speaker 3:Yeah, maybe, instead of like, yeah, maybe she just leaves weather behind all together um, which would make it even more dramatic for her to come back um but yeah, they reopened the drive-thru from the original.
Speaker 1:She's just working at the drive-thru, meteorologists come in and order eight coffees at a time and she's like I'm so glad I'm out this life. Yeah, yeah, that'd be amazing.
Speaker 3:Um, yeah, I also think you know, maybe a little bit off the, the homestead part, but again, a lot of that stuff is really good character development.
Speaker 1:Um I don't know, I got that part got the most laughs from my theater and I saw this like early access imax screening. Yeah, so big theater, galaxy uptown, like I think there's 500 seats in there. I'd say it was two-thirds full. That's amazing. So that was really good. And tons of laughs from the part in which Glenn Powell gives Morna Tierney the t-shirt with his face on it.
Speaker 1:And you can tell mom looks back over at Kate and kind of gives her a look, but then is also like fuck, yeah, I got a Wrangler t-shirt.
Speaker 3:We were dying um I. I know you said you liked anthony ramos I. I don't know if I'm a huge fan of his performance style. I think it was fine yeah, I think he's okay, um, but maybe you could shave off a little bit of him uh, throughout the film, even though he is kind of like the crux of why daisy comes back and then also like the emotional like turn to the wranglers well, and he's yeah, and he's our introduction.
Speaker 3:He's the bridge between science and doing the right thing and the big bad, and so the big bad is so interesting that like he I wait he only has like one scene really right in the diner well, there's yeah, there's a couple scenes where he's just kind of looming in the background and then a tornado will hit and he shows back up. Right, he's making quick offers to people that that also could have been another great moment to bring carrie elwes in and have him be that guy I mean he's dead.
Speaker 1:But oh, that's true.
Speaker 3:Carrie ellis dies okay, yeah, never mind. Okay, that's another thing I wanted to ask the company.
Speaker 1:The real estate company could have been like the jonas jonas real estate group named after him this brother or something right um what do you think that more people needed to die in this movie? So it's funny because when I re-watched the original prior to going to see this, I couldn't really it had been a few years maybe, since, like the pandemic or something. Since I re-watched the original and I couldn't remember if anybody from paxton's crew dies, I was like, do we lose alan rugg? Does anybody die?
Speaker 3:no one dies and now I think the reverend is the only one who gets like.
Speaker 1:He gets the hubcap across the forehead, you know and just the awesome iconic shining drive-thru scene.
Speaker 1:But then Carrie Elwes and his driver, they go up in the big F5 at the end of the film and so again, kind of like just following the precedent that the first one set, there's not really a lot of death, and so again I think that that's like that is playing against our summer blockbuster expectations, that like there's going to be hot and heavy romantic action, there's going to be like bloody action, there's going to be all these different things, and we just kind of don't really get that. And at the end of the movie I wasn't left thinking like, yeah, it would have been cool to see.
Speaker 3:Um, you know, maybe it would brandon pierre maybe. Nah, he was dope. He's cool, a guy from nope. Also. Two for two now for two.
Speaker 1:Yeah, um, yeah, he's great. Can't believe I haven't mentioned him yet. He was really fun in this movie David Cornswet Could have seen him die.
Speaker 2:Could have seen him die. That would have been the one death that I think, because he's really kind of like the a-hole that you're rooting against.
Speaker 1:We almost don't spend enough time with our dude with the 10-gallon hat and the boots and the spurs who's buying up all the land to really you's. He's scum of the earth, but it's not like we've heard him talk enough really to like hate him. We dislike him. David corn sweat like. He's got a lot of speaking parts in this and every single one of them he's either condescending towards daisy edgar jones or he's going against. You know he's he's trying to pull whether or not you like ramos's acting style or whatever he's trying to pull that character to the dark side, almost. So he's the one that I think. Yeah, we could have seen him get. He could have gone up into the suck zone.
Speaker 3:That would have been amazing. But yeah, I guess we should move on to the who, which is how did you feel about Daisy Edgar Jones? Because before this, I think the only thing I had ever seen her in was, uh, the crawdad movie. Well, you've seen fresh and fresh, um, but uh, I I felt that listen a great instagram follow really.
Speaker 1:she's like best friends with paul mezcal and sercia ronan. Her and sercia ronan were just at the Glastonbury Music Festival having a blast Amazing yeah.
Speaker 3:I was very impressed with her as well In Crawdads. In Fresh she's pretty good, but in Crawdads she was just like off her rocker. Now, granted, that movie and that story and even that book is like just insane. But uh, I think she pulls off, like this movie extremely well and is a very likable, even though she is like you know, she is the traumatized character. But like we are rooting for her throughout she, she is extremely likable.
Speaker 1:She's really likable. I think also that the fact I mean I led off my Letterboxd review talking about how her accent work it just for me left a lot to be desired. I think there were times where she was like she was a little in and out. She was really twangy at times.
Speaker 3:And then there's other times where I'm just like no, you're british, which is also really weird that glenn powell's character keeps calling her city girl, even though she is at times extremely twainy yeah and it's just like dude, don't you hear like she's?
Speaker 1:obviously people in new york don't talk like this.
Speaker 3:I know I came somewhere around here, it's so, it's so silly and that that is part of the like, the cheesiness right of that. That bad disaster movie that is really really. It's done really well, it's endearing. Yeah, because when he takes her to the rodeo and he's like, you know, this is how we do things down here, and she's like, yeah, I'm from two hours from here, I got fucking say my first rodeo. I believe she says this ain't my first rodeo yeah like look at my.
Speaker 1:I guess her wardrobe is a little funky. She's got like the white tur is something that she's still passionate about. You know we talked about maybe she needs to leave weather behind, but like she's got the bug, you know, like she's working for some national weather service or whatever it is in New York, and so it's still in her DNA to want to do this kind of work Right, and so when she comes back you can see that passion. But also too I thought that that was another good like slow to warm, turn up on the dial. When it comes to she's, she's very timid, you know, when they first go out, and she hasn't been next to a hurricane, in the presence of a hurricane, for years for 20, excuse me, yes, for like five years.
Speaker 1:And so you know she, she chokes in that moment totally, um.
Speaker 1:And so I thought that, like that was all very believable and just kind of like her little micro expressions and the way that like she's she's double dutching a little bit, she's like trying to figure out like am I ready to go in? Am I ready to go in? And so I thought that the development and the way that she portrayed her characters, like gradual return to Oklahoma, was all done really, really well. And again, I think that just like the character, the way that the character is written, I think would have set up any actor for success there, because it's not like they just throw her into this relationship or it's not like they give her too much to do in terms of like processing her trauma in an overt way. Like I did think it was like a little strange when she just goes back to her mom's house and the keys under the rock or wherever it is or whatever she's in the kitchen and her mom's just like, oh, honey, you know, not just like whoa, yeah, you're home, you're home.
Speaker 1:But again that's just like a nitpick.
Speaker 3:I thought that everything happened like at a good pace yeah, another great cheesy like 90s moment is is in the beginning, when she's in new york and she's at the weather station and one guy's like, hey, we need to, we need to call and and give out a warning. And the boss, who's standing over this guy's uh shoulder, is like, uh, hey, uh, desi, daisy edgar, come come, take a look at this. What do you see? And she just like looks at for two seconds like, oh, it's gonna, it's gonna blow over or whatever.
Speaker 1:The weather group. Yeah, they know, country girl in new york they probably call her country girl. In oklahoma they call her city girl. Can't catch a break break.
Speaker 1:Yeah, no, I thought she was awesome and then just kind of like going down the list because that's something else that's just like so fun and makes the original a very rewatchable movie. And something that's really fun to return to is not only Philip Seymour Hoffman, but Alan Ruck and everyone else, todd Field yeah, todd Field, all the supporting roles in that one, and everyone else who, like, yeah, todd field, all the supporting roles in that one, same vibes with this where it's gonna be probably 10 years and until we really appreciate how well the casting was done in this film. But, like when you have sasha lane, katie o'brien, your girl from love lies bleeding. Um, yeah, brandon pierra, who just yeah, two for two.
Speaker 1:I think he's a musician. I don't know what band he's in, but I was looking at his IMDB credits and, you know, talked a lot about music in there and so like kind of a hybrid performer right there. I just thought that like again, this isn't a movie that I think, even though the first one got nominated, I think, for like two Oscars, this isn't a movie that you would traditionally say like is prestigious, but in in a week, year, and it'll be really interesting to kind of see the precedent that the Academy sets for, like these new awards that we're going to get for things like casting Right, because the foresight to put a lot of these people in this movie. Job well done.
Speaker 3:Yeah, honestly, yeah, yeah, to put a lot of these people in this movie job. Well done, yeah, honestly, yeah, uh, it is such a a uh launching point for all these people, even though, again, uh, because sasha lane was from she's how to blow up a pipeline.
Speaker 1:Is my thing that I and tangerine and no american honey, american honey excuse?
Speaker 3:me, uh, yeah, so again, just like and. And then, yes, katie O'Brien, who was just in Love Lies Bleeding Just people who have been in smaller, again smaller independent film and getting this launchpad on this huge, huge film. I think you're right that you know, five, maybe eight years from now, we're going to look back and be like this cast was fucking stacked.
Speaker 1:Yeah, these guys are all leading their own movies now, um, or have gone on to continue to lead movies, in the case of, like, glenn powell, so I thought that was all really good. Um, okay, so I I have a couple of miscellaneous things here before we leave the actors and their performances, and really kind of like the story behind. Is there anything else that that you want to touch on? I mean, glenn powell, really kind of like the story behind. Is there anything else that you want to touch on?
Speaker 3:I mean Glenn Powell, we kind of touched at the top, but I mean this guy is he's the next thing, he is, he is, he's fully arrived. Yeah, and we've been singing his praises since probably Top Gun Maverick, you know. I remember I think we did like a Denzel episode I went back and watched think it was the great debaters. Glenn powell shows up in that movie for like the last, like five minutes as like a opposition debater and like he's. You can see it even in that five minutes well, same life, and everybody wants him.
Speaker 1:He's the baseball player who you're like no, just be taken under his wings, yeah, yeah.
Speaker 3:And so it is. It is going to be amazing now to see You're right, he has totally arrived and like where, what he does now, from, from here, like he, he, he can do anything. I think, uh, you know he's. He's done the rom-com with Hitman and the.
Speaker 1:Sydney Sweeney movie Anyone but you.
Speaker 3:He's been able to be the kind of the foil or like the not really the antagonist, but like the dickhead.
Speaker 1:He plays a good hot shot.
Speaker 3:Yeah, in Maverick, the the dickhead, he plays a good hot shot. Yeah, in in maverick, um. And then now he, he is the the lead, the lead, like hero. That again, you, you start out very much. He's very much operating in that hot shot style in the beginning, but then he does a beautiful turn and then you're just like I'm, I'm fully in on this guy, um, so I again, I just please, please, just stay away. And I know he's come out and said stuff like I, I don't want to be in ip, big ip stuff or big franchise stuff. You know, I know there's a story going around that he has, he turned down the next jurassic park franchise. Um, I, I really hope he doesn't go into the dc universe, uh, as there's our rumors now spreading that he might be the next batman in that universe. We don't, you don't need to do that, glenn, you really don't now just continue like.
Speaker 3:Be brad pitt, be tom cruise.
Speaker 1:Be george clooney, george clooney just although george did batman, but people just, we don't talk about that.
Speaker 3:Just continue to make your own path, Leo be.
Speaker 1:Leo, you know we had a little group chat going with our buddy, marcus, guest of the show, friend of the show, and there's a lot of interesting archetypes, a lot of different movies and genres that we kind of started to like throw out. That I would love to see him in like. I would love to see him have his own version of like the equalizer, where like the hit, where like hitman was fun. But I want to see kind of like more serious, dark, serious glenn powell or like give him, put him as the head of a household in something like A Quiet Place where he is in charge of.
Speaker 1:Like I want to see like dad. I want to see daddy Glenn Powell, daddy Glenn, daddy Glenn navigating a crisis Right Like navigating, not like necessarily like a horror environment or anything like that John Oliver on his show made a joke that you know.
Speaker 3:it was like yeah, glenn Powell's going to remake every movie ever, and he had a poster of Glenn Powell and Field of Dreams. Remake right Like it is, and it's really interesting.
Speaker 1:He could do that, because he could do that.
Speaker 3:It's really interesting. We just did a Kevin Costner movie because he, I think, again another guy he kind of embodies. Now, you know, you hope he doesn't really go do the water world of a postman but like, yeah, I, I would love to see him in a western, I want to see him. You know, we got a little bit of that cowboy hat looks great in a cowboy hat. He's from texas, like. Let's put him in like a period piece Western, where, like he is a sheriff or something yeah.
Speaker 1:I'm, I'm, I'm all in on that. So, speaking about Glenn Powell, here's like kind of one of the first intangibles that I want to touch on with the film, the scene in which they go to the town that has been devastated by the tornado, and it's our first real look. You don't? We didn't get again something new and exciting? Um, and they, that really adds to the sentimentality of this film is that, aside from when they go to, like aunt May's house or whatever, um, helen Hunt's aunt's name is in the original one and you're driving through there and you say whatever I love in the original one and you're driving through there and you say, whatever her name is on spider man, right, yeah, and so I think the lady who's cooking the steak and eggs that's you know in the original.
Speaker 1:So when we actually like go into these towns but then we start to see like the service work and the destruction and like I no joke started getting like a little choked up because like it really makes it did such a good job of like pulling the rug out from under, not only myself but I kind of felt it in the audience where like people were like oh wow, this is like really, this is really sad. And that's not just because I see Glenn Powell trying to like call a dog out from under some rubble or whatever, save the cat.
Speaker 1:That's classic, right, but people are just like devastated and there's all these disaster relief efforts going on and it's a good time, yes, to show the big bad and the real estate company coming in and really showing like how scummy and just like vile and evil.
Speaker 1:You know that um is, but it it also does a really good job. I think and this is Lee Isaac Chung definitely coming in I think as like a local to the Midwest, a native of the Midwest, and being like here's the destruction, like yes, you're having fun at a blockbuster right now, but also like think about this on just like a human level, and like how devastating these are for people whose lives are never going to be the same again or it's going to take them decades to recover from something like years and years to recover from something like this. And so I thought that was was a like an understated but very overt, like heavy message that that the film communicated really well in only like one or two scenes. And so then, by the end of the movie, when this big F5 is coming and our characters have to make the decision, that like we're not going to try and get in the way of this tornado and stuff. We just need to go help people get to safety.
Speaker 1:Like I thought all of that was done really well.
Speaker 3:Well, and I think that goes back to Lee Isaac Chun being from the area Right and, and that that personal touch that he's a, because I'm sure, like I think you said this already, but like I'm sure he has seen that in his life, yeah, and so I really liked that.
Speaker 1:That's kind of like the the. The heart behind the movie is a message like that. The exclamation point to the film is the. I don't want to cuss. I'm trying so hard not to cuss on this podcast recently.
Speaker 1:But the freaking original motion picture soundtrack. I'm not even a country fan and this thing rocks. It was so fun to be in a theater, a you know big, loud imax theater, with this soundtrack bumping during the movie, because you knew you just listening to the lyrics, you knew that and now I had sent you a screenshot, like back in june when the track listing came out, or whatever I was like. I sent it to my sister too, like another, just like twister head, who I'm like. Okay, we're, we're all on board for this right, because when was the last time that you can remember that I was thinking about for me as black Panther, but the last time that you were like? Here's an original motion picture soundtrack that brings in, like a list artist from the given genre of music and they made songs for the movie that were played during the movie.
Speaker 1:You never see that anymore ever, I really honestly, since black panther I think is the last one to do it, yeah, and again, that's a staple of 90s action films, totally it's just a staple of kind of like blockbuster movies where, like the entire, like it's what it does is it gives me this, this fleeting sense of monoculture where, like for at least one week, because we had another big movie coming that's going to take over the box office, but like for at least one week, everybody, like I've been listening to that Luke Combs song Ain't no Love in Oklahoma on repeat.
Speaker 3:It's so good. That is insane for Alex McCauley to say people it is, I mean, the least country guy I think I've ever known.
Speaker 1:I'm listening to it. I just tell my Alexa dot to play it because I don't actually want to search it into my iTunes on my phone. I don't need my Apple Music algorithm to think that it should be suggesting me but listen, it's so good and it's really so. It's just that was like the last thing for me. Is that, like, while sitting there and hearing these songs recognizable, I mean like just go look at the track listing Shania Twain, miranda Lambert all these people are on this soundtrack making music for the film, and it's not just saved, it's not just used during the opening credits, it's not just saved for the end credits Throughout the film, it's throughout the film, it's while we're driving. It's really fun, it's really effective. And so I'm just going to go on record right now of saying, if we nominated a song last year at the Academy Awards from the Hot Cheetos movie, we better get Luke Combs at the Academy Awards performing Ain't no Love in Oklahoma this year, because I can guarantee you that'll be a moment. You got just like everybody standing up.
Speaker 2:You got glenn powell in the front row oh yeah, what are we doing if we don't nominate this?
Speaker 1:song. So that's, that's my big soapbox moment. Here is like bring back original motion picture soundtracks, put the songs in the actual movies I love that make them a part of the experience.
Speaker 3:It's at 360 degree aspect it's manipulative in the best way, right like it puts you such in the the mindset and the tone of the film. If you do something like that, it's really.
Speaker 1:I just thought that was really well done and kind of like a just a great, a great thing that they didn't have to do, but that somebody along the along the way in the drawing room was like, hey, when it comes to the music in this movie, let's tackle it 100%.
Speaker 3:Listen, I don't know for sure, but I'll give that win to Lee Isaac Chun once again. Just continually winning with this movie. Is there any chance? Any chance that he gets nominated for Best Director?
Speaker 1:I don't think so, but I bet you visual effects, visual effects for sure. Give me Best Song, please, yeah. And other than that, I mean is there a Best Truck nominee that we can throw out there? Best use of a vehicle in?
Speaker 3:a movie, I thought the editing, maybe the editing.
Speaker 1:Maybe. No, that's a big one. There's only five spots for editing, and those almost always go to Best Picture nominees as well. That's true, but I think it snags a couple. I think it snags a couple. What if it gets?
Speaker 3:Best Picture. I mean there's 10 slots for Best Picture in a year like this.
Speaker 1:Yeah, where we're just uncertain of what's going to come in. We know Dune's in there.
Speaker 3:Probably Inside Out 2 challengers, probably challengers anora, anora, maybe nosferatu boy I don't know about that, but I would that's big, that's big.
Speaker 1:Yeah, hope there. I mean, I don't know the the only real precedent and this can kind of start to transition into our legacy sequel conversation, but, like top gun maverick was such an event that that film ended up with the best picture nominee. Why not? Never stood a chance at winning, but it got there. I don't think this is on the level of monoculture of of of significance of Top Gun.
Speaker 1:It's I mean it's it's just not. We can be honest about that. As much as we love the film, it's just not, and so I don't think that's going to happen. But this movie is in my top ten right now. Yeah, same, so it's a win. Whether or not you support big action blockbuster filmmaking or not, I think you have to accept that this is a W. We started off by saying that what it does for Lee Isaac Chung going forward is just gives him a blank check, which is the most exciting thing coming out of this film. Glenn Powell, superstar Daisy, Edgar Jones on a new level of stardom Everybody involved, I think, should come out of this film feeling very, all the way down to Paul Scheer man, Paul.
Speaker 3:Scheer at the end as the parking lot attendee. Okay, so he obviously. I mean he's been an actor for a long time. He does a movie podcast and I wonder if I would love to go search and see if he's I'm sure he's done an episode on Twister and if he is just like the biggest fan of Twister or something.
Speaker 1:For him to come in there. I spent 20 seconds watching this reel on instagram, so I have no idea if it's true or not, but it's paul himself saying that his mother was an extra in the original twisters and she was pregnant in the background, and he's like so that's me. But now that would mean that paul sheer is six years younger than me and there's no way. There's no way, there's no way. So I think he's trolling, but he's like I'm the legacy character no no, no, that's just not true.
Speaker 3:He's not younger than me, no he's not.
Speaker 2:I thought, that was hilarious though.
Speaker 1:That's really funny. Okay, so that's Twisters. Please continue to go support this film, see it in a big theater. Of course, it's just what you want from a summer blockbuster action movie. So what, then, makes a good legacy sequel? Because, yeah, you can have a little bit of fun asking if Twisters is actually a sequel to Twister or is it just another Tornado movie. That makes more sense to put the Twister label on it so that people aren't just like boy, this really just feels like a Twister ripoff. You're going to get more people in the audience in the theater if you do it like this. So when you think about a legacy sequel because we're starting to get these and we've been getting them and I think they've maybe been disguised as other things and I have a few notes written down about that but, like when it comes to a legacy sequel, when, for max fosberg, are you like this is gonna work for me versus this is ridiculous?
Speaker 3:and again, hollywood, we are just creatively bankrupt well, I think the original needs to have some sort of cult around it, right, cult classic feeling around it, I think. I think you do need to wait, at least 20 years.
Speaker 1:I have 30 written down, so I love how patient we're being yeah, uh, you have, you have to let it.
Speaker 3:You almost have to let the movie like go through a couple different stages of like this is terrible. This is actually kind of good. No, it's not good. Actually, this movie fucking rocks. It has to go through different generations of people um to to really build up that cult status.
Speaker 1:You know what? I think that that goes a lot. Or what does a lot for that argument or for that quality? I guess I should say is that and I love you saying 20, me saying 30, there needs to be a generational gap Totally.
Speaker 1:Where it is a movie that your parents grew up watching and loving, for one reason or another, it could be Top, top gun and they just love that soundtrack. Right, and that was the case in my house growing up. And so then I am at a very young age introduced to that film, that movies on and around me constantly, and then I kind of have my own experience with it as far as growing up, watching it, seeing it go on cable, becoming a student of cinema and just the history of movie making and understanding more things about Tom Cruise. Like I think it really helps having a star at the center of your picture, because then when it comes back around and casting news starts to get out, then you can drum up that excitement again and you can be like, oh, now, this is this, now my version of of the same movie right, right and yeah, I think, yeah, twisters, uh, or twister the original.
Speaker 3:like I was just talking with my mom this past week and, and you know, twister was like one of her favorite movies in the 90s that came out and I wasn't even really aware of that, but I do remember we had the VHS. I remember it being on Anytime.
Speaker 1:you drove by a farm and saw some cows there's probably a joke made.
Speaker 3:We got cows. So, yeah, I love the idea of a generational. There does need to be a generational gap and, like it is, you know, a legacy sequel needs to come in and serve those original fans of it, correct. But then also like having a new experience for the younger generation.
Speaker 1:Because folks who loved Top Gun in the 80s and watched it on repeat and wore out the soundtrack and wanted to probably join the Navy and fly fighter jets, like they don't know. When Top Gun Maverick came out, they didn't know who Glenn Powell was Right, the Glenn Powell, miles Teller aspect of that film that was for us. Yes, we were there to see tom cruise do this film and everyone else involved the filmmakers. But, like there, there are certain things about a legacy sequel that have to appeal to both sides I think it also is really important that that original movie is a standalone movie, right?
Speaker 3:yes, so a lot of people have brought up the new beverly hills cop movie that just came out on netflix axel f, I think, is what it's called. Yeah, now that's the fourth movie in that series, and so I don't know if you can call that a legacy sequel, because that is a franchise like that, is that?
Speaker 1:has the next installment.
Speaker 3:It's the next installment, yeah so with that so I think also when you have a movie that is its own film and has lived as its own film, and and and that and that goes on, you know that adds to it like if it's its own film, I have a counter punch.
Speaker 1:I'll, you know, go ahead, of course, finish, but, like, before we get off of this point, I I got to counterpunch If it's its own film and has carried on and has still been popular that long like that.
Speaker 3:I think that also is really important.
Speaker 1:Okay, so would you consider Toy Story 3 a legacy sequel?
Speaker 3:So no, I would consider that a next installment and really honestly, I mean that is like the the closing of of the andy toy story, right story.
Speaker 1:I just I I the toy story franchise came to mind because I feel like it. It simultaneously checks a lot of boxes but while also leaving some pretty glaring ones out, because again you got tim allen, um and tom hanks coming back to do the voices, and there had been a long time, a long time. There was a generational gap where I think that people our age who already had young children, like in their early twenties, were probably taking their kids to go see Toy Story because they had already shown their family, their family has already come to love those original ones. The parents grew up with them and now, especially getting into Toy Story three and 4, you could almost look at it that way, where it's like there's two different Toy Story stories there's 1 and 2, and there's 3 and 4.
Speaker 3:It is really strange that they waited so long for 3. Yeah, Because 2 comes out. What, three years after 1?
Speaker 1:Like yeah, Two or three years after 1.
Speaker 3:And maybe that was part of the technology. They just wanted the technology to be better or something. But that is a really interesting case where I guess it does. It does have that generational mystique to it. But yeah, I mean, another one we're about to get here in September that I think is really exciting to maybe go back and watch and examine is the Beetlejuice.
Speaker 1:Beetlejuice- I knew you were going to say this.
Speaker 3:Yep Right, the original Beetlejuice, which is a glaring missed movie in Max's filmography.
Speaker 2:Never seen the original, really Never seen it.
Speaker 1:Okay, I saw you just clocked ed wood, so you're starting to do the work I'm starting.
Speaker 3:I'm starting to work on the burton, the burton-esque uh uh list the book of burton the book of burton. Um, but yeah, so I I think that, so I think that will be very successful, because I feel like they have done, they have, you know, obviously waited very long.
Speaker 1:There's not been any other sequels in between, you're bringing back michael keaton, the centerpiece, michael keaton is the centerpiece.
Speaker 3:They're also bringing in a new star, jenna jenna ortega, for the younger audience and then also bringing in justin thoreau for me justin thoreau for william defoe, for me, uh, but then you know, there there hasn't been a bunch of like sequels to beetlejuice, and beetlejuice is a very like cult classic movie from the 80s.
Speaker 1:I I think that that's a great example of what we're talking about right now is you have to have. You have to have that centerpiece star. And then one of the other notes that I have here on mine is that I think both the source text and then the planned legacy sequel, this only works on. This only works at the full extent if it's a pg-13 and or family movie it's got to be a four quadrant film.
Speaker 1:Yes, it's got's got to hit young males, young females, older males and older females, because we've seen this done and again or all the people, I should say Not just those genders, all the people, right, there's been attempts to do this in the horror genre, to varying degrees of success, right, but certainly failure.
Speaker 1:Because you think about something like the exorcist beginning, where I think that there was a lot of excitement even though there had already been exorcist, exorcist two and exorcist three. And then you know, our guy, paul Schrader, just like, took a huge swing there in the early two thousands and I liked that movie. No one else appreciated that movie. It's not a good movie, um, and so then, when all of a sudden, it's like david gordon green, he's, he's leaving the failed experiment within the halloween universe. And so now, in that first one halloween 2018, I think, good example of even though there were a lot of sequels, kind of like riding the coattails and the momentum of the original one, they had stopped for a while and it was really exciting just to see a return to Jamie Lee Curtis, michael Myers and Haddonfield.
Speaker 3:Well, and they even go out of their way to say, like all those other sequels, didn't happen, didn't happen.
Speaker 1:Yep, and that was the same. This is the sequel to Halloween. And that was the same spiel that we got with the Exorcist beginning Right, and isn't that what it was called?
Speaker 3:two years ago. Two years ago, I think it was just called the Exorcist, okay, but that was the attempt, the attempt was just to bring back in fans of the William Friedkin original. Ellen Burdenstein, yep. Burstyn. Burstyn Returns Was coming back.
Speaker 1:Guess, ellen burdenstein, yeah, burstin, yeah was coming back. Guess what? I haven't even seen. That movie did not work. You saw that film, did not? You did yes, that's what I'm saying did not see it. If you could have gotten any two people in the world into the theater for that movie, it would have been us.
Speaker 3:I don't did it even go to theaters.
Speaker 1:It did, it did and the reception was just so bad that I thought I'll watch that on demand. Still haven't. Yeah, so it's because I think that that becomes. It just becomes too niche, where when you are appealing to only a certain type of genre fan in this case like demonic possession within the rated r horror community it's not going to work, whereas like when you do something like whether it was toy story, whether it's Beetlejuice, these family affairs that people can go out and watch, then you have much more. Your chance of success goes up a lot, much more.
Speaker 3:Do you consider the first omen a legacy prequel?
Speaker 1:Yeah.
Speaker 3:I mean, I guess right.
Speaker 1:I guess I do. And now, again, that's just like that's, that's the unicorn, uh, like that movie should not exist. That movie should not work as well as it does, um, and yet there it is like number three on my my list for 2024, um, so I don't know, I just the first, so special, I don't know. I guess, yeah, I guess I consider it it's a legacy installment to a franchise. That, and again, maybe that's part of that's another thing. I don't have it written down here in my notes, but I think that there's something to be said about reinvigorating a franchise and giving us a sequel or another installment into a universe that we didn't know we needed more from.
Speaker 3:Yeah, I think that's. That's the skeleton key right.
Speaker 1:That's kind of like the missing ingredient right there, right, is it when, like you can, you can convince audiences that, like you know what you need more of. You need more Maverick. Like you know, what you actually have been missing is Tim Burton, Michael Keaton and Beetlejuice. Right, like you didn't know this, but like we're going to show you.
Speaker 1:Yeah, yeah, it's really interesting I think, because that was the case with Twisters. Nobody Right. Until we saw that the movie was in development, nobody was like I mean, and we love natural disaster, epic action movies, but it was. But it never crossed my mind that we need twisters. We don't need deeper impact.
Speaker 3:It's honestly amazing that it didn't happen sooner. Agreed, yeah, so yeah, it's really interesting and we'll see what I mean. Again, beetlejuice Beetlejuice, I think, is the next big one. I mean, gliator 2 is also coming out.
Speaker 1:That's a really good example right there of one that's an extreme.
Speaker 3:I mean we're gonna, so we are. We are, I think, entering a a phase of these legacy sequels where they are taking standalone movies that were hits, some sort of hit, whether it was cult classic or in the box office or critically I mean gladiator or critically the awards, right yeah and, uh, we are, we are going back into those worlds, uh and, and you know, it'll be varying degrees. I don't know. I don't know if gladiator 2 is going to be good.
Speaker 1:I want it to be good. You know, I just saw michael mann has basically said that he too is gonna happen and now there's been a lot of speculation for a while now where it's like because the there was a, a novella that came out, or just like it was a book, a novel, a prequel or a sequel book came out, like last year, yeah too, and that really started the conversation. And now I see that, like he has said that it's happening, I like shooting by the end of this year.
Speaker 1:So nervous man like I'm so nervous, but like that's a really interesting case too, though, because it's like I should like in. Ridley, I trust, yeah, and michael man, I trust but did you like ferr Ferrari? Was okay.
Speaker 3:So, yeah, he, he too is going to be really interesting because, as much as you and I, love heat and black hat and Miami vice, and Michael Mann but we are. We are definitely heat heads. Is heat a big enough thing in the in like the, the culture like right? Is he?
Speaker 1:here's the thing that always cracks big enough when I, when I love to try to like, read into the psychology behind movie marketing, and so it always interests me, when a film is coming out, what the producers and what the marketing team think audiences want to see and or read in the theater. When they say, like from the director of blank, yeah, so like, obviously you will see heat 2 directed by michael mann will they have to tell audiences, will they have to tell the? Will they have to tell the 16-year-olds? Will they say what will they say? Will they say from the director of Collateral? Will they say from the director of? They won't say from the director of Ali, or from Black Hat or Ferrari.
Speaker 1:And so because you see this all the time, right with movies where it's just like from the studio they brought you, from the producers of, from the director of, and so it's always so interesting to me, like with Tim Burton, like I guess I've seen some Beetlejuice things, but like are they saying? Like from the director of Alice in Wonderland? Like I don't. Because there has to be some sort of strategy there to remind people who aren't like us they don't obsess over heat. Or in Ridley scott's case, who, like I literally just did like a 500 word review of covenant on my letterbox for nobody else other than myself, just to be like. This is why this movie is a hidden gem, quasi masterpiece of the 2010s um, and so I don't know, like I don't need that, but so many other people need to be told. Gladiator 2 is from the director of Blade Runner.
Speaker 3:Blade Runner. There's another one.
Speaker 1:Blade Runner 2049. Great job, they bring back Harrison Ford. You bring back. You know, it was Denny, it wasn't Ridley, but it had all the blessings from Ridley. Really well done, it had all the blessings from Ridley, really well done. Now, that was kind of an outlier there. As far as like the mass appeal that just like I mean, 2017 was a different time when movies were just like so good and you could make whether it's like a legacy sequel that people didn't know they needed or just like exciting adult dramas you could still get away with that stuff then. So, like it's scary to think that like 2017 was a different time, but like 2017, I hate that.
Speaker 3:You just said you could. You could get away with making adult dramas, you could.
Speaker 1:That movie made a ton of money and cleaned up at the at the academy awards and all the technical categories, um, whereas like I don't even know what the comp to that is now. Like. When was the last time that like a big sci-fi, epic action? Like no one, like what the creator same kind of deal, right like snags a couple of academy awards I know you had it on like a kind of like a hit, um, I think forgotten or just overlooked gem from that year or whatever, but like, for the most part, a movie like that doesn't work.
Speaker 3:Yeah, god, that's so sad it is.
Speaker 1:This has turned into a pretty macro discussion about the state of. Hollywood. But you're right, this is okay. So, like this is. We've already, you know, labeled this as kind of the year of horror, and we're going to continue to get a lot of really good scary movies and genre pictures going forward. But it is also, I think, like the year of the legacy, sequel, kind of right now. Yeah, yeah I mean is inside, inside out two legacies equal.
Speaker 3:I don't know. I mean it's, it was what 10 years ago that the original came out it's 10 probably not, probably not, probably not.
Speaker 1:But at the same time, I think you were right on the cusp of having that generational component that we were talking about. I think a lot of people saw the first inside out, whether they were in middle school, high school or college and starting to really like, understand social, emotional development and things of that nature. And then they see this film and they're like, oh, I can't wait to return to this world. Yeah, I didn't know I needed, I didn't know I needed, I didn't know I wanted to return to this world. But like, what's up with rally, what's up with all the emotions? How sad and it's doing, how's joy doing um, I saw something again. I'm sure this is just like this wouldn't happen, but I saw this on instagram where it was like um theater, theater, traumatized after um, like the projectionist accidentally showed. And think about the way these two films are spelled showed, showed Insidious instead of Inside Out 2. And I'm like that's clickbait, that just couldn't happen. Right, you've worked in a theater before.
Speaker 3:Why would they?
Speaker 1:have a digital copy of Insidious. You don't just categorize these all in a filing cabinet and pull something out.
Speaker 3:Was there an Insidious sequel out this year?
Speaker 1:I think that was last year.
Speaker 3:Yeah, the Redious sequel out this year. I don't think. The red door? Yeah, the red door came out last year. Yeah, that's the one. Either that's that's completely false trolling, or or that's a projectionist just being like, I'm gonna just burn, burn it all down.
Speaker 1:I'm gonna fuck these kids up, yeah, yeah no gosh, okay well, twisters legacy sequels live show on August 22nd. A lot of fun stuff here on this episode.
Speaker 3:Amazing.
Speaker 1:That'll do it for us in this week's show. Join us next week as we discuss the next big summer release, which is Deadpool and Wolverine. The movie is sure to make a boatload of money, but how will the MCU and comic book fans receive this film? Buttload of money, but how will the mcu and comic book fans receive this film? We will have a review, a fallout conversation, and we will have a real take the training wheels moment off here for yours truly. After we wrap this recording right now, max and I, we're gonna go downstairs, we're gonna fire up the projector and we're gonna watch. I'm going to watch for the first time deadpool, so I don't. How do you think I'm going to respond to these?
Speaker 3:I think you know, apart from because you're not a superhero person and these are so these, especially these Deadpool movies, are so incredibly unique and different from anything else that's involved in the bigger Marvel picture. I think, because you're and you are also a fan, I think, of those original X-Men movies, I think you're going to appreciate Deadpool. Is it going to get on your nerves? Is it going to be annoying? It might.
Speaker 1:Is it two hours and 25 minutes? I don't think so.
Speaker 3:Good, I think it's closer to a hot two hours, okay, maybe even less. But yeah, I'm excited to see. I'm excited to see what, how you react to it. Um, because I, I, I think it might be in your wheelhouse. It's rated r right like it's. It is the the most violent, crude, like adult themed superhero material out there.
Speaker 1:Let me give I got to give a plug for a short film that was just released yesterday, so on July 22nd, your boy, Jim Cummings.
Speaker 3:Oh yeah, did you watch this? I haven't watched it.
Speaker 1:We're going to watch this then, before we go downstairs and watch and watch the first Deadpool, but it's available on YouTube right now and it's called is now a good time, yeah, hilarious take I've seen some screen grabs and like I can't, wait on on mcu marvel disney ip, um and just the jim cummings is.
Speaker 3:You know he's. He's always on on the brink there I love it fantastic, he's always making shit.
Speaker 1:What, what a guy, what a guy. Okay, so one last reminder We'll be plugging this hard for the next month, so forgive us here, asking your forgiveness in advance, but the evening of August 22nd, mark it down. Come on out, hang out with us, watch the Crow. It's going to be a lot of fun. Until next time, please follow excuse the intermission on instagram and the two of us on letterboxd to track what we are watching between shows, and we will talk to you next time on eti, where movies still matter.
